Mounts for pictures and other papered-material-formed artwork have been in use for many years with improvements occurring from time to time, as shown in one or more of the following prior art disclosures, all hereby made by record: U.S. Pat. Nos. 1,058,469; 3,893,252; 3,987,569; 4,057,923; 4,268,000; 4,947,565 and 4,991,330. Further, as an example in prior practice, a two-sided adhesive tape strip has been used to secure artwork at the top only of a frame, by which the tape is hinged to provide a free hanging of the piece. However, the artwork then tends to `swing out`, towards the glass, curling as it does so, touching the glass when mildew gathers, and ruining the art. Another technique is to apply a one-sided adhesive tape with its adhesive side applied to the artwork while glue is applied to the other side of the tape; this being a primitive method in use for a long time. However, these teachings have not solved the problem of the effects of the curling up of an artwork's edges or the buckling (which permanently damages paper artwork) in other parts of the same artwork on paper in a frame, or behind its glass front or the like.
It also is known that works of art on paper expand with humidity and contract when dry. Present known methods involve fastening the artwork down around its edges at one or several inch intervals. But this method prevents the paper from lying flat as it expands. And where there is no linear room for the paper to expand, it buckles.
I had noticed that in the case of a mat (matte) over a picture, the picture was fastened to the mat with solid tape attaching the top face of the artwork to the back of the mat, using several such tapes across the top. Since the tapes were rigid they had no play in either left or right directions. I also noticed that all pictures buckled along their tops when they were so fastened, but lay flat on all other sides or edges that were not fastened. In other words, the pictures were hanging freely except for their tops where they had to be fastened.
This invention provides for a true free or floating arrangement for the artwork about all of its sides or edges while being securely mounted to a backing. It eliminates the detrimental effects of the above noted problems of buckling, as well as curling, rippling and waviness, since the paper can expand and contract along all of its sides or edges, as if it were not fastened down at all.